The Long-Term Effect of Tonal Training on the Melodic Ear Playing Achievement of Beginning Wind Instrumentalists

Abstract

Abstract The purpose of the study was to determine the long-term effect of training on the melodic playing achievement of beginning wind instrumentalists. Subjects were 42 sixth grade beginning band who had previously participated in an investigation regarding the effects of as applied using standard method book melodies, on melodic playing and sight reading achievement. In the initial study, training had significantly affected melodic playing achievement (p .05). Five months following completion of the initial study, all subjects were re-tested for melodic playing achievement using identical procedures from the first test administration. During the five-month hiatus, all had returned to a traditional style of instruction. A 2 × 2 mixed-design analysis of variance regarding subjects' long-term playing achievement revealed significant effects for treatment group (p .05). Analysis of group means revealed that, while experimental group scores remained greater than control group scores, the average control group performance had improved and the average experimental group performance had deteriorated. These results suggest that continued traditional experience with band instruments may slowly improve playing achievement, while long-term benefits of training may gradually diminish. Scholars of music education and psychology suggest that a relationship exists between understanding and abilities to perform melodies of Western culture by (Gordon, 1988; Schleuter, 1997; Sloboda, 1990). Based on this relationship, the development of melodic ear playing, unrehearsed instrumental music performance without notation, is likely facilitated by an emphasis on patterns of and relationships among individual pitches. Furthermore, many researchers support tonal training, the use of vocalization and solfege syllables to emphasize sensitivity to pitch relationships, in the development of instrumental performance skills (Dickey, 1991; Grutzmacher, 1987; MacKnight, 1975). However, authors of traditional beginning method books often present melodic notation using discrete visual symbols, related exclusively to instrumental fingerings and slide positions. Thus, students are allowed and encouraged to use instruments as crutches by primarily associating notation with correct fingerings-not the correct sound (Schleuter, 1997, p. 42). Empirical evidence to support this premise was observed by Delzell, Rowher, and Ballard (1999) who found no significant differences (p > .05) between the playing abilities of seventh-and tenth-grade instrumentalists who had received musical instruction using traditional method book notation. Furthermore, playing appears to be an important factor in the development of independent musicianship (Colwell & Goolsby, 1992), and is an important prerequisite to successful, attainment of National Standard #3, improvising melodies, variations, and accompaniments (MENC, 1994, p. 1). While opportunities may exist to teach understanding within the context of method book melodies, educators often fail to promote aural acuity, instead encouraging to associate musical notation exclusively with instrumental fingerings and slide positions (Schleuter, 1997). Thus, may not learn the sensitivity to relationships necessary for successful playing performance, and may fail to develop independent musicianship to any extent of effectiveness. The purpose of the current study was to determine the long-term effect of training on the melodic playing achievement of beginning wind instrumentalists. Method Subjects for the study were 42 volunteer from two intact sixth grade beginning band classes, comprised of heterogeneously grouped flute, oboe, clarinet, alto saxophone, trumpet, and trombone instrumentalists, at a suburban middle school in central North Carolina (see Table 1 below). …

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